A Quote by Kenneth Choi
When you're working on a huge, elaborate set that took months to create, and you're surrounded by hundreds of extras, you better remember your lines and know what you're doing in a scene!
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[While voicing] you have to create a feeling for what happened before a scene, what's going to happen after a scene, and what you are doing in a scene. You need to use your imagination even more and once your emotions are up, then your voice and expressions will go accordingly.
Definitely as an actor, the experience you have, at least I'm talking for me, my experience as an actor is you go to the set and know what you're going to do, know your lines, you rehearse, you do your scene, you go back home. As a producer, for the first time I saw the whole picture in a completely different way.
One thing I've really never had a problem with was memorizing lines. Most of the time I don't memorize the lines until we're on the set shooting the scene.
As an actor, you always find your way. You have whatever preparation techniques you use, and you just go with the scene when you're on set. You can only plan so much when you're working, because things have to come naturally in the scene.
You always draw on your experiences with live audiences to know how to do comedy on films. You're working for a laugh that may or may not come six months later, but you're working in a vacuum at the time you are doing it.
It's much, much harder working on a show than it is working on a movie. It really is. Even if you're in production, that production lasts for a set period of time. A TV show goes on for months and months and months.
I find it difficult to remember lines. When I'm doing a long speech for television, I sometimes have an earpiece with someone feeding me the text. But I can get by in the theatre if I study hard for a couple of months.
You know, you're just sitting with him [Chevy Chase], then you're doing a scene with him and acting, and all of a sudden you go, "Omigod, that's Chevy Chase!" And then you've got to keep acting. "Danny, your lines? Your lines...? You've got to keep going!" "Oh, sorry, sorry!"
In this age, I don't care how tactically or operationally brilliant you are, if you cannot create harmony - even vicious harmony - on the battlefield based on trust across service lines, across coalition and national lines, and across civilian/military lines, you need to go home, because your leadership is obsolete. We have got to have officers who can create harmony across all those lines.
I like working consistently. I like working for four months at a time, which is why cable was so attractive. You work for four months, and then you get to do something else, whether it's doing a movie or just being at home with your husband and eventually having a family.
The scene at a certain time was definitely boys; those huge warehouses were kind of violent parties, even. I think people in your immediate community made a nightlife scene that actually did break down gender roles and were along different lines of identity that had to do with race and experience in the '90s, rather than gender.
What I like about music is the songs you can remember the lines of in a single second. The Beatles, The Rolling Stones... You can remember every line to their songs. But today, how often do you remember any of the lines to songs? I mean, I know that one of the Lily Allen's last albums is called It's Not Me, It's You. But I don't know how the songs go.
I think Julianne Moore is very, very good. I've worked with her. We did Surviving Picasso. I remember one scene we did together. She had to have a nervous, a mental, breakdown in this one scene. I didn't have many lines. I just had to make sure I knew I came in on cue all right. And I was just watching her walking though the rehearsal. I thought I know what she's doing, "This is going to be terrific." So they said, "Are you ready" and she said, "Yeah," "Ok, roll the camera." And all in one take.
There is a huge body of evidence showing that people do better in their work when they know why they're doing it in the first place. They do better when they see what they're doing contributes to something in the world.
Search for what is good and strong and beautiful in your society and elaborate from there. Push outward. Always create from what you already have. Then you will know what to do.
When I went to auditions, if I didn't know the lines, I wasn't getting the job. If I knew my lines, if I knew what I was supposed to be doing, I got the job. And it was always like that - if I'm working hard, I get the result that I'm looking for.
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